Symphonic Revelations is scored for 3-3-3-3, 4-3-3-1, 1 timpani, 3 percussionists, harp, piano, and strings and is approximately 20 minutes in length. It is a single movement symphonic work that consists of three major sections and is built from the pitch class set [0, 1, 3]. The first section’s overall form resembles both a large crescendo and an accelerando. The music begins softly and slowly and over time gradually builds becoming louder and faster. Eventually in bars 225 to 229, the section comes to an end with a tutti passage that marks one of the loudest and fastest moments in the entire work. The second section also begins quietly but unlike the dark tone of the first section, the piece brightens up harmonically. The sonorities are more consonant and colorful and thus, the mood is much less somber. The final section of the piece begins right after the duet between the oboe and the English horn in bars369 to389. The purpose of this section is to conclude the work in a rousing scherzo-like finale.

Although the title itself would imply that the work is programmatic, and thus fall under the categorization of a symphonic poem, I do not consider it as such. Unlike the great tone poems of Richard Strauss or even Gershwin’s An American in Paris, Symphonic Revelations does not follow any extra-musical ideas. It is more abstract in nature. I chose to write the entire work in a single movement for sake of continuity alone. I wanted the material to develop freely and gradually over the course of the whole work without having to be segmented and formatted into individual movements. As for the title, my hope is that it is programmatic enough to spark the imagination of the audience and yet vague enough not to imply any specific story or idea.